robertoart

Yeah, I've been buying from Tom at Jazz Record Revival for many years. I just got an email from someone called Adrien telling me Lawrence Of Newmark was already in the mail. That's fast service. I just did a quick google and found out Tom Burns runs the business and they also have a record label called Capri. Anyway, I hope the $10 re-issue is not a better sounding vinyl than this original But I've rarely heard a digital sourced vinyl trump an original pressing. And it will be pretty special to have a first pressing of this. I doubt there are many copies of the original that made their way to Australia back in the day. Anyone know much about the history of Perception as a label? Sounds short lived.

Que significa "tube cut"? Pressed on the London underground between Maida Vale and Kilburn Park MG Isn't Kilburn associated with Ian Dury in some way. Very Dubious Re-tube cuts. Basically all Beatles original UK vinyl up to Abbey Road was cut to vinyl using tube/valve equipment. Giving it that spacious warm sound. Same as we usually expect from Jazz recordings of the same era. With US Beatles records, tape copies were sent to America and re-mastered by Dave Dexter to beef up the sound for radio. They also incorporated the UK ep's into the LP's to create more product. That's why the UK originals sound so good and are the ones to listen to. In the UK, they continued to use the tube cut lacquers on Beatles re-issues up to the early Seventies. Apparently, although I have not heard it, the only US Beatle album that is comparable sound quality wise, is the Mono Magical Mystery Tour LP. Unless you find a charity store copy.or something like it, you probably won't get that one under $150 these days. In Australia, being part of the good old Commonwealth, we got sent the same lacquers, or metal masters, to cut our Beatles vinyl (except for a few Lp's). So our Beatles vinyl sounds mostly just as good, and sometimes better, than the Uk counterparts Having said that, I've got a UK Stereo Revolver first press I scored for about $30 off ebay a few years ago that sounds exquisite. I learnt all I know from the Hoffman Forums

Anyone that might appreciate a Liberty Stereo Larry Young Into Something should look here. My link It's $40US. It's been sitting there unsold for over a year I think. I just scored an original NM Lawrence Of Newark here for $60. About two years ago I got a NM Liberty Idle Moments for$20. They price very reasonably and their grading is accurate.

Not bad, to say the least ! Yes. That's a nice run Pity about the light ticks on Full House, I'll take it off your hands for a fiver

Great story about Mike Pike. There is a bit of history with overseas players coming to the AFL. It is kind of a continuation of the connection some visionary Football thinkers made between Australian Rules and Irish Gaelic football. Because of similarities between the games, during 1980's some Irish Gaelic football stars were encouraged to give Aussie Rules a go. One player in particular, Jim Stynes, became a champion. Several Irishman have since become successful players, and now recruiters have broadened their scope towards other sports. I guess the logic is that exceptional athletic skills can be transferrable with the right attitude and good coaching. Many AFL players now also extend their careers by going to the US as Gridiron kickers and have some success. The weather will have an impact on the game today. It will be windy and possibly wet. So kicking for goal will be more difficult. Good foot skills and getting first use of the ball will be important. I think the last time it rained a bit on Grand Final day was 2008, that's when Hawthorn won their last flag

And their were any number of Brits who shared the views espoused by Hitler and Wagner etc. all. Including the abdicating King and Mrs Simpson. It wasn't just isolated to the Germanic thing. There was also the emergent Vitalist movement that was popular in certain circles across the Western world during the rise of the Nazi Party, which also had affinities with Fascist ideas of 'the body'. And was probably also connected in some way to antisemitism.

My link Here's an interesting series of exchanges on this topic by 'Barry and Mark', exploring the relationship between Wagner's antisemitism and it's textual presence in in his music. I find the arguments by the writer Barry - that because Wagner's antisemitisim and scapegoating of the Jews was intrinsic to his subjectivity, it was also intrinsic in his music - an interesting one. And I think this is one of the pivotal points to think about in these kinds of discourses. Also, I have never researched or known about the actual ways Wagner publicly organised his antisemitism into ideology, as others here so obviously already know, so regarding the 'normative question', I think it swings on the space between the intrinsic antisemitism of history, and it's incorporation into cultural ideology. As the normative position of non-Jews was anti-Jew, so I would say the manifestation of this into systematic antisemitism - by those with the cultural and ideological agency to do so -(ie, Wagner), was also a normative position. The history of Christianity -from every perspective - also follows a similar path, it just didn't play itself out in the holocaust (in name at least), although as a belief system and ideology of it's own, it was as normatively reprehensible and responsible as the 'teutonic purity' push was. At the end of the day, the 'listen to Wagner - don't listen to Wagner' choice is a purely subjective one, that will eventually be normalised culturally - one way or the other - by weight of numbers, which appears to be happening in Israel now, if the overwhelming majority stayed and didn't leave.

Well perhaps on the radio and ipod Wagner is somehow distanced. A part of the disembodied digital world. In the concert hall the music takes on a certain kind of psychic-corporeality perhaps. This really is another tangent on how you deal with the dilemma of separating the art from the artist. And where do you draw the line. In the case of antisemitism - and the 'European canon' - who out of anyone that wasn't a Jew didn't harbour deep seated and ingrained cultural and personal aversion to Jews as a people. Probably not many. It was part of the collective consciousness, far beyond just the Germanic culture. That Hitler loved Wagner, and Wagner had a known social text of antisemitism, made him the perfect fit to be the musical poetry for the Holocaust. It also makes him a good symbol for contemporary Jews to use as a cultural focus to 'maintain the rage'. Hitler also loved Rembrandt, who, chances are, may have been just as antisemitic as Wagner.

He would if he accidentally dropped his baritone on one. I've got a vinyl of SOS. I haven't listened to it in so long I can't remember much about it. I know I love Bluiett every time I hear him though. That's a BIG sound. I used to have a Black Saint one that I lent to someone and never saw again. It had a guitarist on it with the coolest name, 'William Spaceman Patterson'. There's a Music Revelation Ensemble Lp with Bluiett on, it's some of the heaviest music I've ever heard.

Yes and that is beautiful man. But whatever playing you have developed over a lifetime, however eclectic, is still going to represent the principles you valorise in music. And I can't imagine from reading your posts here, that not a little of that must seep into your 'business' gigs. All the people on here that are open about their own music activities and opinions have a streak of the musical-polemicist about them. I think I was being conscious that all the great movements in Jazz represent more than just the changing of aesthetics for it's own sake. polemical  [puh-lem-ik, poh-] Part of Speech: adjective Definition: argumentative Synonyms: belligerent, combative, contentious, contrary, controversial, disputatious, eristic, factious, fire-eating, having a chip on one's shoulder, litigious, opinionated, polemic, pugnacious, quarrelsome, salty, scrappy, spiky, touchy

Sometimes getting the 'stream' can be frustrating, but I expect for a Grand Final it should be more easily available. I often watch this way if my team (Richmond Tigers) play interstate, and if it's not on TV. Hawthorn should win, if they play to talent and form. But Sydney are a great side, so it has the potential to be a cracking game. You have excellent taste in sport, if a 'footy tragic' like myself may say so Last year was a super game as well. It was also the cause of much comment because of the pre-match performance by Meat Loaf Talkback radio was in uproar for weeks after the game. I don't think old 'Meat' will be let back in the country again - for not being able to sing in tune on our biggest day.

I think you are being very generous in your interpretation here. As far as misappropriated by the Right - if the shoe fits... Sometimes the idea of 'progressive aesthetics' can be co-opted to provide the 'aesthetic-poetry' for 'survival of the fittest' 'social' ideologies - from where Rand was undeniably coming from. Leni Riefenstahl used fascist aesthetics to similarly create the visual poetry to support the Nazi ideology. She also has her defenders who try and separate her power as a visual organiser, from the fascism it sought to enable. One of the aims of Post-Modernism wasn't merely appropriating - but also to deny artists the ability to get away with such things 'merely in the name of Art'. Artists had to begin to take responsibility for the meaning of their work, and what that work represented beyond the aesthetics. I'll give Rand the benefit the doubt and say that perhaps she had 'the trickle down effect' in mind. But I doubt that. I think we're also falling down a common intellectual trap door: thinking I can speak as an artist\servant\self-expresser\communicator---the last the most important to me---who plies his craft every day. The more I think the less I play---b/c the less focused I am. I think these discussions are fine--I started this one, right? They are postmortems, though. I think it's not my place to give my philosophy to people except by playing. If it's happening and has feeling they'll know---just as if I'm blocked and the flow is blocked. Through the years I've learned to trust peoples' higher capabilities. Though I'm disappointed often when they act low something always brings me back to the way I need to think to be successful at what I'm trying to do. The main thing is: the 'thinnin', Babalouie, is cool---but is best done after, not during. Way less baggage that way, We may have to disagree on the qualities and motives of Rand. However, as a Jazz musician (especially in this day and age), are not the choices you make, re- style, repertoire, sound etc., not 'representing' a certain aesthetic and 'conceptual' position, and any 'communication' you make - with an audience - or other musicians - will be filtered by it. Perhaps in essence, it's nothing more than, 'this is the sound and style I love', 'this is me, and I hope you like it and are moved by it' etc. But it's also more than that, because what music styles or traditions you choose not to play (or be associated with), are also statements in a way. So I think there is a certain amount of aesthetic-polemical intent in all the musical choices one remains committed to. And I guess this is true for passionate listeners as well - it's just that there is probably less on the line. So yes, it's about honest and direct (and sincere) communication, but there's always a sub-text to 'what' you play. Then again, I remember reading Scofield say something like, 'I never worried too much about trying to emulate anything, because in the end your playing always sounds like the things you like the most'. That's paraphrasing his exact quote, but it basically what he meant.

If you type in 'AFL Grand Final 'live steaming' into google just before the start of the game, you should get a nice surprise. Otherwise there will be live radio coverage here. My link Go Swannies!

Love Butch Morris's playing. I still listen to Interboogieology and the other Black Saints with Murray regularly. Hope things get better.

So what about about this one? Guilty pleasure for anyone I love the EW&F song Can't Hide Love. And I love Carmen's version in particular.

He never said that in the interviews I read In the ones I read he left out that bit. Just used to say he wanted to leave the big city behind and be a sign painter again. Everyones got a spin I suppose. I've got a guitar instruction video he did a few years before he died. He seemed like a kind and gentle soul - for such a monster player. He plays the Red guitar on it that was made especially for him for an early colour TV performance. It's probably on youtube.

And he left the music world for a considerable amount of time, to return to sign painting. Apparently because he didn't like the lifestyle and social milieu of being a jazz musician back in the day. I suppose other musicians of his time made a similar choice when they became 'studio musicians' or joined TV bands.

I think you are being very generous in your interpretation here. As far as misappropriated by the Right - if the shoe fits... Sometimes the idea of 'progressive aesthetics' can be co-opted to provide the 'aesthetic-poetry' for 'survival of the fittest' 'social' ideologies - from where Rand was undeniably coming from. Leni Riefenstahl used fascist aesthetics to similarly create the visual poetry to support the Nazi ideology. She also has her defenders who try and separate her power as a visual organiser, from the fascism it sought to enable. One of the aims of Post-Modernism wasn't merely appropriating - but also to deny artists the ability to get away with such things 'merely in the name of Art'. Artists had to begin to take responsibility for the meaning of their work, and what that work represented beyond the aesthetics. I'll give Rand the benefit the doubt and say that perhaps she had 'the trickle down effect' in mind. But I doubt that.

Do tell. Did you 'encounter' him at some point?

Dr John and his 'stick/shtick' always put me in mind of the Wrestler 'Dusty Rhodes'. I just think Dusty Rhodes is funnier.

I always thought Romanticism was an Aesthetic/Philosophical tradition associated with the Sublime and The Enlightenment. A substitution of the 'awe and terror' of nature for the newly diminished 'awe and terror' of 'God'. I guess in the context of what A Lark Ascending is saying however, it is/was the precursor of the valorising of the 'artist-individual' over the art, so to speak. And the natural progression from this lead to Modernism in Aesthetics and Existentialism in Philosophical thought. Is this not where the heroic individualism of the Artist as a special kind of maverick took root? Ayn Rand and her 'ideas' being possibly the vilest outcome of the 'Individual against the world' kind of outlook.

I've got an ... er ... 'soundboard recording' of a James Blood Ulmer gig with Amina Claudine Myers and Jerome Brailey. Perhaps, because some of Blood's tunes revolve around a similar kind of 'drone', they start playing a number...and Amina Claudine Myers starts playing a different tune to the one Blood Ulmer's playing. Which - if you know the material they were doing at the time (the 'Blue Blood' album) -is quite easy to see happening. When Blood realises what's happened, he announces to the band (and audience), "it's the wrong song-it's the wrong song". They keep playing - and then Blood says to the audience - "ahh, we'll try and make something of it anyway"

I'm not so sure Brian and keith ever were, kind of creepy that No Lifeguard on Duty sign in the background...do love the way they played together though. I must revisit some Jones era Stones with adult ears and a better stereo system. I've always been a Taylor/Richards fan though. Love Mick Taylor's big Blues-Rock tone and beautiful phrasing. My only post-teen listening with Brian, was at the time of the Rock n Roll Circus issue. For me the highlight of that film (and the later bonus footage), was the chance to see the great Jesse Ed Davis with Taj Mahal. I also bought the Luc Goddard flick with the Sympathy For The Devil sessions, hoping the Keith Richards guitar solo overdubs were in the film. One of my favourite Rock guitar leads. Alas not to be. But fun to see nevertheless. And to jsangry... I will match your Keith Richards finger... and raise you Mick Taylor's Afro

Not enough.

Back when they were as thick as thieves.